Интервью Лизы Штормит о современном художнике, работе куратором, образовании в искусстве и о том как стать художником

(00:00:08)
When we start our program, I usually ask our guests, what they do for a living. So I’m going to ask you the same. Tell a little bit, what you are doing in routine life.

- (00:00:20)Sometimes I do some strange things for a living. I mean sometimes that’s orders. I put on performances, make animations, make books, illustrate, but I cannot always say that I really earn for life from all these. Usually I try to keep balance - do what I really like and get some money for that.

- (00:00:42) Do you have the main job as old school say?

 

- (00:00:47)No, I even don’t have an employment record book. One day I came to the theater and was employed as a production designer. I came in accounting office, they looked at me and asked: “Girl, have you ever worked in your life?” Exactly with these words, straightly. I said: “Of course, I have. Look,  here it is my huge portfolio, I was accepted”. So I don’t have an employment record booknor permanent job.I’m trying… There is such word - freelancer. I don’t like it, because freelancer means - independent person, but I hear from many people who do freelance work that they are dependent, that they are waiting for next order - waiting, waiting, waiting. They do not like such situation so much, that they do not get such amount of money which they really need. 

- (00:01:26) So that’s not a story about you?

- (00:01:28)Yes, I’m trying. It happened, that I worked only for that projects, which I really liked. Such a happy story happened, I could choose. If I am offered a project and I don’t like it, I just don’t go there. So it is even not a money issue every time. Firstly, it must be interesting for me. If it is, I don’t do that. I work as a volunteer very often, or for idea, or for portfolio, because there are just nice company, group, people, an idea itself.

- (00:01:56) Listen, where is the money in all this story?

- (00:01:58)Money? There are money. Of course people call some amount of money and...

- (00:02:04) But, primarily, you are not moneyman, are you?

- (00:02:06)No, I am not. You know, I, for money… My first question is always about the main essence of project, about its main idea. If I like its idea on the whole and its vector, I work further, and later I can even do not ask about fee. Last time, I’m tending to ask about money, because some people start riding on the back of me, let’s call it so.

 

- (00:02:30)Listen, I understand, that the question is from the past, but, however, how would you call your occupation in case hanging a label?

- (00:02:42)I am artist. Not a woman artist, because last time there are a lot of waves of feminism, like I’m woman architect, I’m woman curator.If I had been told about becoming woman artist, I would have refused.

- (00:02:59) Explain the difference.   

- (00:03:00)Because, I think , that this is originally male profession, Men are artists. For example, I perceive it as a compliment when people look at my artworks and say:  «Liza, you have a male hand». I consider this is an achievement, because artist is real profession. As a surgeon needs a hand without trembling, as architect, artist and others do. That’s just a title - woman artist, and it doesn’t sound really cool.

- (00:03:26) But don’t you see any problem, that there are the male world and you are like a guest in it?

- (00:03:34)Yes. I feel  pretty amazing with it. If I start working, for example, for the movie and they say immediately: «You know, we don’t accept ladies».  I am very grateful to them, because this job can be really hard, your working day can be 18 hours, you always have to move something, to nail somewhere. I can do that, but I’m very grateful to these people who warn me in advance. So I calmly do my work - painting. 

- (00:03:56) Sounds well. It’s just very interesting thing. Actually, I  met many points of view, especially, in Network, which were exactly about woman artist, woman architect. Now I even can’t remember, if  I was told response opinions by somebody. What was your last project or are you in current project now?

- (00:04:18)СNow I make two exhibitions, prepare myself. One of them is called «Family values». It would interactive exhibition, where you come to and you see boxes with rebus pictures on them. You open the box, and there an explication for that picture inside. I don’t want to tell all this. I would really like people to come and to watch all that, play with it.
 

- (00:04:37) Do you have a special date already, when it must happen? 

- (00:04:39)Most likely, it will happen at the beginning of June in «Gnezdo» gallery. It may be 10-th, 12-th, 13-th of June. Now we are on level for a while... 

- (00:04:45) For one day?

- (00:04:46)No, it will be for 10 days.

- (00:04:49) So are talking about start?

- (00:04:50)Yes. while we don’t know for sure when it starts.

- (00:04:53) And your second project?






- (00:04:55) The second project is about Joseph’s dreams. The project called «About dreams». It's an immersive exhibition with romantic installations where visitors will have the opportunity to lie down on the soft floor, read or smell something and so on. About the dreams and let's stop here because the main idea of the project is that you have to visit and feel everything yourself in tactile way.

 

- (00:05:21) Got that. Tell us please the ways of becoming an artist. 

 

- (00:05:27) Wow. Here I agree with the famous artist Victor Pivovarov who said «to become an artist you need nothing at all». It is the best profession as if the film director f.e. depends on actors and shooting location then to become an artist you need just a glass and a napkin in the cafe. And the main thing needed is your willing and creativeness, but to my mind these two factors are required for any other profession as well. Doesn't matter if you want to become cameraman or film director or tv host. Idea is the main thing. Just do and listen to no one else. 

 

- (00:06:01)  To no one? 

 

- (00:06:02) Yes. To no one.

 

- (00:06:04) So? You did that and then? 

 

- (00:06:08) I don't mean listen to no one at all but you have to carefully choose people to consult with. You definately have to have the competent opinion of 2-3 persons whom you trust. Most people usually say: «don't do that, the exhibition won't be interesting». I've heard that plenty of times. 

 

- (00:06:25) Personal experience? 

 

- (00:06:26) Exactly. «This idea is bad, why are you doing that? Why sending the grant there? Why sending the letter? No one needs that!». You ignore them and just do. Later seeing the result they will be like: « oh sure, sure». So you have to just do that, go forward like train or a tank. 

 

- (00:06:44) Correct me if I'm wrong but now you're also teaching art? 

 

- (00:06:50) Yes, for this last year. I was invited to the Museum of Contemporary art to complete the course. They asked me if I could be teaching. I rejected teaching painting and drawing as to my mind those who want can learn themselves. But as far as the most important thing is idea I wanted to talk about the ideas and art, how to create and discover, how to observe like an artist. 

 

- (00:07:15) Like  a workshop? 

 

- (00:07:17) Lectures. Using other contemporary artists' works as an example we try to realise the artist's inspiration point and create our own ideas. And also there are some game activities. 

 

- (00:07:33) So that's not a usual lecture featuring artist's biography and works? That's mostly like the process of getting the experience and understanding the way of being an artist? 

 

- (00:07:44) It is. Anyway the thing that I tell my students is: «I can't teach you anything». And that's the truth and if f.e. I take English courses whicb promise me that I'll be able to speak by the end of the week I don't believe that as it all depends on the person and his/her self work. I offer some excercises, tell about my experience and skills, but the result can be seen only if the person develops him/herself at that. If this person starts to observe and create, write artist's diary, ask for advice, they get the result and create their own projects. I can see how they get excited with the ideas they want to release(00:08:21). But the ones who just want to be taught here and now, won't get much. 

 

- (00:08:30) Artist's work – is it mostly about art or about craft, about work or about inspiration? 

 

- (00:08:39) Hmm…

 

- (00:08:40) If we're talking about learning…

 

- (00:08:43) I consider it to be mostly a work as the inspiration is usually connected with muse, but I don't think neither muse nor «creativity crisis» exist. In the university I was taught that artist has to «think by the pencil». That means you just sit and start working. If you do nothing it is considered to be a «creativity crisis», but if you work you'll always get the result somehow. (00:09:11) Even if in progress the result becomes different from the initial idea, but that means that you give it a final embodiment.  

 

- (00:09:20) Can you give the example? Is it connected with any goal somehow? You get the project and then start creating, drawing whatever ot you make this goal yourself according to your current interest and star working? I don't know if I made it clear enough. 

 

- (00:09:38) Yes, here are the two ways. You get an order – a book, a performance, whatever, and you have stated frames, topics so on. So you start searching for the material, discuss, try something. 

But if it comes to my ideas I usually make no frames for myself either creative or time limit. I can be walking along the street and realise that now I'm interested in romantic installations. And I can feel an interesting smell and try to apply something close to that  for my exhibition,(00:10:09) Or f.e. «that is an interesting wall textire, I want my visitors to touch and feel that as well». That's all about my personal experience.  Or while visiting the exhiition I noticed an interesting colour contrast and decided to do something using it. I can not even understand it at the moment but I write in down, memoize and it all comes to tne same poject in tthe end. Or f.e. «that is an interesting wall textire, I want my visitors to touch and feel that as well». That's all about my personal experience. 

(00:10:35) The exhibition «about dreams» appeared after I tried to understand where do the dreams come from, what are they and how they form. I made a lof of hard work while getting ready. I slept a lot in my workshop so I hope it helped. 

 

- (00:10:54) You slept in a workshop, so your dreams there were different from your homedreams? 

 

- (00:11:00) Yes, it was working dream. I came, sit in the armchair and took Freud's huge a bit boring book about dreams. Opened, read and understood that the work had started. I fell asleep and woke up in a good mood.

 

- (00:11:17) You came close to my next question. Can you tell me about the artist's routine day? 

 

- (00:11:21)  No, not like this. It was not only for that project. Artist's routine day is different, depends on the artist we're talking about. Is it an curator-artist or the one just doing the project? 

 

- (00:11:34)   You know if we were talking about psychoanalysis. There is a common image. An artist is a man standing in front of the easel holding palette.

 

- (00:11:46) Is he wearing beret and scarf? 

 

- (00:11:48) That's what I imagine, yes. So such artist's day – how does it look like? 

 

- (00:11:55) I'm not such artist. I don't like spending much time in the workshop and prefer collecting the material and meetings and going to the libraries to find the inspiration. I'm not such an artist who works all day long. For me it's not right. I have to collect the material to express later. So sometimes they say: «Lisa, we don't understand how you work as you seem to be doing nothing». But I am walking, searching, writing down and then just doing. (00:12:26) I don't like suffering while doing something. I start working only when I have ideas and materials to express. 

 

- (00:12:35) That means you have lasting developing period and then you just complete the project very fast? 

 

- (00:12:42) Yes when you know what to do.

 

- (00:12:43)  So as far as I see the project strategy is the one you approve? 

 

- (00:12:46) Yes.

 

- (00:12:46) That means an agreements and time limits. Are the time limits strict for you? 

 

- (00:12:52) If it's about projects that have already made arrangements with the gallery, then yes. But there are plenty of projects I do for myself. I have a book with written ideas but I can't release them all. Sometimes other projects are more urgent to work at the same time, or you lost interest for some of them, or you just unable to work at 10 projects at once. 

 

- (00:13:11)  Is the time limits abidance hard for you? Like f.e. when you have to finish work before 10th? 

 

- (00:13:15) Mostly yes, it can be uncomfortable sometimes, but that's not becausd you don't wang to work at fhis project or it is boring, but there's just laziness, because you're already tired while completing other projects. The most important is to make yourself start and then you're easily working, because process exites you. It's my profession, I've been doing that since I was 5. 

 

- (00:13:38) Five?

 

- (00:13:40) Yes.

 

- (00:13:40)  What was the beginning at five? 

 

- (00:13:43) I was sent to an art school. I don't know if my parents had some kind of an inner feeling for that. I attended the same art school as my sister. Since then there was no need to ask what I'd like to do in future. An artist for filming, perfomances, etc. 

 

- (00:14:02) Do you think it's necessary to attend an art school to become  contemporary artist or it depends? 

 

- (00:14:09)I think, it's necessary.

 

- (00:14:10)  Why? 

 

- (00:14:11) Even if you can draw some lines like Matiss and it seems you don't need to learn to do that, I still think base is important. Even if you don't become a great artist, you will have the memory base and the artistic taste. I can see the works of young artist new to contemporary art. They can have great ideas or the well-done objects, but his lack of observing Tizian's works or not enough knowledge of colour contrasts can be seen. (00:14:46). It's noticeable, so you can easily distinguish the one with an artistic base. 

 

- (00:14:55) Ah so it is. About the contemporary art. For me it has no sense, I can't understand and accept it how I see it. Can you advise me in short the aspects to pay attention to for me to become closer to understanding it? 

 

- (00:15:21) I've been there once. That was one of the reasons why I entered Institute of Contemporary Art Problems. There is contemporary art that I don't understand even though I have to because I'm an artist. It's a common thing today to reject everything what we don't understand. «It's bad and must be eliminated». But really it has to be researched and moreover contemporary art is more about context and ideas so you have to read much abourt philosophy to understand what it is an why it is displayed here. But at the same time tastes still differ and you still can like it or not. (00:15:57) Also among well-known artists of the XIX, XX centuries are not more than 20-30 artists on top, but still there were many bad artists. It's incorrect to say that but let's say not interesting, not talanted who just completed orders.

 

- (00:16:17)  Those ones we don't remember?

 

- (00:16:18) Yes. Those who don't have their own language, or own artistic vision. That's also true for contemporary art. Only time can tell the what is worth. And the things that now draw a lot of attention are not always the masterpieces. And if we’re talking about perfomance, there are only three world-known perfomancers, but others doing strange things still exist. That’s why we say perfomance is bad, I suppose. 

 

- (00:16:47) That means we’re valuating this mass of people and judging the whole art form? 

 

- (00:16:54) Exactly. It’s like you’ve seen the one bad perfomance and now you consider everything to be bad. It’s also true for painting, installation, videoart, whatever. Good and bad works exist anyway. 

 

- (00:17:05)  How can I start my way to understanding? Any manual? 

 

- (00:17:11) Honestly, I even don’t know.

 

- (00:17:13) Nothing? 

 

- (00:17:14) Just one book? 

 

- (00:17:16) Where I can lear everything on 100 pages.

 

- (00:17:19)No, but “How to become an artist in 2 weeks” exists. I love that! 

 

- (00:17:24) How to learn to draw a person? 

 

- (00:17:26) Yes. I think you just have to attend exhibitions and museums, read annotations, talk to artists. As for me the need to be aware of context and  remittances is really a problem in contemporary art. But still as far as I have a classical education and I’m more used to the physical labour – brush painting I mean – at this point I’ll agree with Matiss. He said “you’re listening to the birds singing and you like it even though you don’t understand it”. (00:18:01) That’s why such estetic estimation as like of dislike is still important for me. F.e. I undertand this installation, it’s soace organizing, movements, proportions and after that I’m discovering the idea. I don’t like if when in the annotation artist states what he wanted to express. I want to get my own emotions and feelings as an observer. 

 

- (00:18:32)  So you and the artist both compliting it. He does his part and you as a visitor will create your own details for this work to be interesting for you. So could you please enlist contemporary artists that you’re keen on and whose exhibitions are worth visiting?  

 

- (00:18:53) One of the Ilya Kabakov’s exhibitions has already opened in St. Petersburg, other opens in Moscow. Kabakov is still one of my favourite artists. He works with total installation and that is like a breath of fresh air for me as I’m keen on constructioning. Also I work with Stankov who works with humour much.That’s what I like – jokes, strange dialogues. Sometimes artists are just…Even though contemporary art is full of humour, artists treat their status too serious. I’m an artist so I have to create a serious work. And then you come to see the result and there is a man and a bell. Are you kidding?

 

- (00:19:39) Who else except Kabakov? 

 

- (00:19:41) Many of them. Have to think abouf that.  It changes every year as your list of favourite artists changes due to the inner state you’re in. 

 

-(00:19:52) You mean Russians, right? 

 

- (00:19:54) Why? There are many foreign artists whom I like. Yayoi Kusama is one of them. Funny fruit. 

 

- (00:20:02) I don’t know if I can call that “Russian scene” if it comes to artists, I guess not, but still ul tk you are the Russian paintors competitive enough comparing to western one or they have their own way? Is it connected somehow? 

 

- (00:20:18) I think they start to be. Once again if we’re talking about maitres they are competitive enough both in price and galleries where their works are exhibited and the amounts of visitors. It’s more difficult for the young artist. In my opinion there is still a group of artists in Moscow about 40 people just transfering from one gallery to another and getting the same prizes. (00:20:45)  It’s a joke that the Young Artist prize is one by the same artist for the five years. It’d be better if young artist could get the support and opportunities to show themselves. There is a huge gap between praised artists and well-known curators and the young ones. The middle layer don’t exist now. 

 

- (00:21:08) What’s the reason, how do you think? 

 

- (00:21:11)I don’t know. Gallery maphia? 

 

- (00:21:15)  Connections and friendship. Some people just alreadg have thd name but others are completely new. 

 

- (00:21:26) Well, connections do exist. As for my projects I’ll invite those cameraman ehom I already know, because we’ve already worked together. But I think that’ll be changing somehow.  

 

- (00:21:42) Do the artisf have their image of cariere growth and developmentand celebrity’s salary level, or any other metaphors? 

 

- (00:21:56) Artists are different. I know those who have a stated plan, f.e. they want to take part in exhibition in thus gallery, so theg need to visit the opening and get the contacts. I call that “selling the face”. 

 

- (00:22:11) Looks like business plan.

 

- (00:22:12) It is a business plan. You sell yourself, offer yourself, skilfully create articles of other popular publications. But other artists just work for themselves. They can have one job they attend daily of time to time and just wirk for themselves. 

 

- (00:22:30)  And you are…

 

- (00:22:32) The second type mostly. 

 

- (00:22:35) Why? 

 

- (00:22:35) I can’t sag I’m selling myself in a bad way but I also can’t work completely for myself.  I need to be active, so even if J create something for myself I still need to show it somewhere. So I’m in the middle. 

 

- (00:22:58) Do you have any suggestions for the young artists who are just in the beginning of their career how to act in the most proper way? Any mistakes to avoid? 

 

- (00:23:14) To my mind the mistakes have to exist as they help to analyse your actions and learn. No wag you can avoid them. You also have to observe other artists’ works. Initially artist learns by copying. 

 

- (00:23:27) Copying? 

 

- (00:23:28) Yes as you become artist only after overcoming the copies and finding you own ideas and style. That’s the moment you become an artist while before that you’re just a person working in the similar style with the close number of subjects. So observing others, study and search for grants. Nowadays there are plenty of these offers that didn’t exist during soviet times or even 10 years ago. You can constantly take part in any competitions, make friends with curators, send requests. There are plenty of competitions. The main thing is to be active and show yourself, especially nowadays when you can show your pictures in the internet, have a website or a group in social nets and find your audience by that. (00:24:12). Just be active.

 

- (00:24:19)  Oh about customers. Does the art brings much money nowadays? 

 

- (00:24:28) Yes as contemporary art usually creates money out of nothing many artists try to get their place there. Some of them even create more design objects than a piece of art. 

 

- (00:24:43) That you can place at home? 

 

- (00:24:45) Correct. So you initially create an object or a painting to hang on the wall or fit the sofa. It can be well-done but it’s still mostlg commerce than art. 

 

- (00:24:57)  There’s an opinion that contemporary art is just the way of investment. That people invest in those works that will become more expensive later. But that means it’s not about art but about the price growth and the artist’s popularity. Is that true? 

 

- (00:25:16)  All auction houses work like this. There are even people who buy works from each other. Lime the painting sold for 10 smth. can be sold again for 30 smth. In some years. These people then share the money as the prices are verg high. So it’s really about money sharing. 

 

- (00:25:44) Does it happen to our artists now? You’re not jusf telling about some western ways? Is if the same for us? 

 

- (00:25:51) I can’t say about Russia. It’s just about Auction houses, as this information is just free. Anyway you can see the price for the sales this year and the next one.  

 

- (00:25:59)  Do you follow these news? 

 

- (00:26:01) Not really but still. That is a real work when you’re checking the prices and works and top artists. 

 

- (00:26:09) I see. Ok let’s change the topic. We have a “30+” project now where we ask our guests about the mid-age crisis and tell about people with interesting professions and what happens if you decide to change your life.  00:26: 28 So the question is did you try to change something at that time or that’s not about you? 

 

- (00:26:38) Oh right now I decided to move to Paris as I’m tired of Moscow. The last year before my 30th birthday I didn’t participate at the exhibitions much as I realized that before there were 12-15 exhibitions a year featuring the same places and artists.( 00:27:01) so the question was why to do that and what for? How to develope? 

 

- (00:27:11) Do you have an answer now? 

 

- (00:27:13)  What for? I’ve always had an answer. 

 

- (00:27:15)  Have you? 

 

- (00:27:16)Yes. I like it. It’s mg cup of tea. I can’t imagine doing something else. I can do something but that would be very hard existance without art. 

 

- (00:27:29)  Paris is better, isn’t it? 

 

- (00:27:31)  Is it a question or a statement? Yes, Paris is better. 

 





- (00:27:39) What?

- (00:27:42)What’s better? Oh, ok, we have a lesson of Russian now. What’s better in Paris? You know, everything.

- (00:27:49)  For you, which things?

- (00:27:54)It sounds super-strange, stereotyped and some… But there is another air in Paris, more freedom there, so you can do one project there and you understand, that somebody, maybe, wouldn’t like it.

- (00:28:06) Don’t you have any problems with acclimatization, I mean in social way, that you are known here, but there, maybe, less.

- (00:28:14)Yes, that’s also such story, but, by the other hand, I’m very people person, it’s easy for me to make new contacts. And it really happenes a little strange every time: one, I call somebody, call  other person,  call somebody else, talk to someone else. And this way it’s getting built. 

- (00:28:29)So if you leave and then think about coming back of not, what are the points that can make you come back?  What has to be changed? 

- (00:28:41) I’d like to work for 2 or 3 countries at the same time like a cosmopolit. I feel good in Russia as well, and many things I like here as well as in France or Italy (if it’s about Europe). I’d like to show Russian artists in Paris and open up the new names.

- (00:29:03)  It’s very valuable experience. You can compare. So if something is better here, something there, what is better here? 

- (00:29:11)Like you said before, connections, I guess. You have your own language, you have ideas, you know everyone and have recommendations. But the “foreigner phenomen” also exists in Russia as well. “Let’s help to a foreigner”. Same is for Paris. 

 

 

- (00:29:38) Really?

- (00:29:39)  “How interesting. It’s a completely new point of view”. Many people sag that when you come to Paris everyone speaks English…No not like that, no one speaks English, only French and no one likes you. But I was lucky to meet people who helped me, very opened and friendly. Maybe it depends on your own mood. You accept them they accept you. I don’t know. 

 

 

- (00:30:09) Okay, accepted. Tell me, please,  what’s closer to you from other areas, not from visual arts, I mean – literature, movies? Where else do get inspiration?

- (00:30:26)You mean, where exactly I get it, or what else I would like doing?

- (00:30:28) Get it.

- (00:30:30)  You know, I get it everywhere. Yes, I like reading, but can’t do it really often last time. Mostly, it’s special literature on curator work, on marketing, on brand development, that’s all me...
 

- (00:30:42) Seriously?

- (00:30:43). Yes. All these nosense. That’s fun reading.

- (00:30:49) Is it useful?

- (00:30:51)Yes, in some cases. There are such facts there, which don’t open your anything new, but sometimes it is really useful to remind yourself, that you really should do this or that.

- (00:31:00) Don’t go for lunch by yourself.

- (00:31:02)Yes, by the way, it is really cool position. It’s much easier in Europe. Recently, I sent a letter describing one project to grand museum in Paris. I wrote, that I have such project, I would like to do it on your place. I got an answer by the museum director: «You know, we have a little different projects, but we would happy to drink coffee together, when you come».And the thing that I don’t like about Russia, that in Moscow thy often ignore you so you have to write and ask if they got your mail. 


- (00:31:37) Brr.

- (00:31:37)  Nothing pleasant at all. But that’s the matter of self-respect. You have to put yourself in that situation. You’ve sent the letter and is waiting for an answer. 


- (00:31:50) The usual ending question for our guests is about tbe evening movie to watch. Can you recommend something to watch after the interview. That doesn’t have to be a new one, but the one audience will like. 

 

- (00:32:08)I have even two favourite films to suggest.

 

 - (00:32:11) Let’s two.

- (00:32:12)Sergey Soloviev’s “Assa”as it’s very cool. And Kurehin and Shklohov’s “Lenin-grib”. I’ve seen that first when I was five and since then…

 

- (00:32:27) Did it help you?

- (00:32:28)I still…

- (00:32:29) Your parents are amazing, showed you such movie in five years old.

- (00:32:32)  I still think the fact that mushrooms have brain broke my mind a bit. I don’t order mushroom soup in the restaurant even without explaining the reason to the waiters. The explanation was so clear that I still believe that they can think.



- (00:32:52) Cool, thank you very much for the interview. 

 

- (00:33:01) I’ve visited Moscow for several times and it’s a bit different. But everytime I come there’s less of that magic. Have you, saying the least of it,  been living here for a long time? 



- (00:33:15)Yes, I was born here

- (00:33:17) What can I visit to experience Moscow? 

 

- (00:33:23) Kitay-gorod and Chistiye Prudy. The old architecture is preserved there and….

 

 

- (00:33:31) Streets?

- (00:33:31)Yes, there are many nice places opened there recently. J won’t recommend Gorkiy’s Park as there are too many people and they all ride bicycles or skates or rollerskates and beep to you. That drives me crazy. 

 

- (00:33:49) So Chistiye Prudy js the best place to go to feel what citizens feel, right? 

- (00:33:55)Yes, or visit Bauman’s garden that is also not far from there. And walk along the streets in the centre. 

 

- (00:34:01) Have you been to Zaryadye?

- (00:34:03)I have and I was very surprised. Out of all the annotation information I remember only that they promised moss there. I’ve visited recently. 


- (00:34:13) In order to see the moss? 

- (00:34:14)Right. But there sas snow all over and I was grumbling as an old woman that I could see birch trees and pine trees but no moss. And also I was surprised by the construction above the water. 


- (00:34:28) A bridge. I’ve seen. 

- (00:34:30)A bridge. But I said to my friend: you know I’ve had a history of architecture courselasting 1 year. I know how the bridge look like and that’s definitely not that. That’s an observing platform but not the bridge.

- (00:34:45) A fake somehow? 

- (00:34:46) Yes.

 

 

- (00:34:46) So how much Zaryadye can get out of 5? 

 

- (00:34:52)It could be better in summer but right now it’s only 3+ as for me there are just huge places that are not used properly. There are cafes and restaurants but it doesn’t feel comfortable for me. If you turn to the streets or banyas it’d be better. 

 

- (00:35:12) More lively? 

- (00:35:13)Sort of. Still here it’s just a field even without a moss. 

 

- (00:35:16) Ok, got that. 

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LISA SHTORMIT  

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